1 @c -*- coding: utf-8; mode: texinfo; -*-
3 Translation of GIT committish: FILL-IN-HEAD-COMMITTISH
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14 @section Chord notation
16 @lilypondfile[quote]{chords-headword.ly}
18 Chords can be entered either as normal notes or in chord mode and displayed
19 using a variety of traditional European chord naming conventions. Chord
20 names and figured bass notation can also be displayed.
30 @subsection Chord mode
34 Chord mode is used to enter chords using an indicator of the chord
35 structure, rather than the chord pitches.
38 * Chord mode overview::
40 * Extended and altered chords::
43 @node Chord mode overview
44 @unnumberedsubsubsec Chord mode overview
49 Chords can be entered as simultaneous music, as discussed in
52 Chords can also be entered in @qq{chord mode}, which is an input
53 mode that focuses on the structures of chords in traditional
54 European music, rather than on specific pitches. This is
55 convenient for those who are familiar with using chord names to
56 describe chords. More information on different input modes can be
57 found at @ref{Input modes}.
59 @lilypond[verbatim,quote,ragged-right]
60 \chordmode { c1 g a g c }
63 Chords entered using chord mode are music elements, and can be
64 transposed just like chords entered using simultaneous music.
65 @code{\chordmode} is absolute, as @code{\relative} has no effect
66 on @code{chordmode} blocks. However, in @code{\chordmode} the
67 absolute pitches are one octave higher than in note mode.
69 Chord mode and note mode can be mixed in sequential music:
71 @lilypond[verbatim,quote,ragged-right]
92 Predefined shorthands for articulations and ornaments cannot be used
93 on notes in chord mode, see @ref{Articulations and ornamentations}.
97 @unnumberedsubsubsec Common chords
100 @cindex seventh chords
101 @cindex root of chord
102 @cindex modifiers, in chords.
103 @cindex chord quality
105 Major triads are entered by including the root and an
108 @lilypond[verbatim,quote,ragged-right]
109 \chordmode { c2 f4 g }
112 Minor, augmented, and diminished triads are entered by placing
113 @code{:} and a quality modifier string after the duration:
115 @lilypond[verbatim,quote,ragged-right]
116 \chordmode { c2:m f4:aug g:dim }
119 Seventh chords can be created:
121 @lilypond[quote,ragged-right,verbatim]
122 \chordmode { c1:7 c:m7 c:maj7 c:dim7 c:aug7 }
130 The table below shows the actions of the quality modifiers on
131 triads and seventh chords. The default seventh step added to
132 chords is a minor or flatted seventh, which makes the dominant
133 seventh the basic seventh chord. All alterations are relative to
134 the dominant seventh. A more complete table of modifier usage
135 is found at @ref{Common chord modifiers}.
138 @multitable @columnfractions .2 .4 .3
150 The default action; produces a major triad.
152 @lilypond[line-width=4\cm, noragged-right]
154 \omit Staff.TimeSignature
162 The minor chord. This modifier lowers the 3rd.
164 @lilypond[line-width=4\cm, noragged-right]
166 \omit Staff.TimeSignature
175 The diminished chord. This modifier lowers the 3rd, 5th and (if
176 present) the 7th step.
178 @lilypond[line-width=4\cm, noragged-right]
180 \omit Staff.TimeSignature
188 The augmented chord. This modifier raises the 5th step.
190 @lilypond[line-width=4\cm, noragged-right]
192 \omit Staff.TimeSignature
200 The major 7th chord. This modifier adds a raised 7th step. The
201 @code{7} following @code{maj} is optional. Do NOT use this modifier
202 to create a major triad.
204 @lilypond[line-width=4\cm, noragged-right]
206 \omit Staff.TimeSignature
215 @ref{Common chord modifiers},
216 @ref{Extended and altered chords}.
222 Only one quality modifier should be used per chord, typically on the
223 highest step present in the chord. Chords with more than quality
224 modifier will be parsed without an error or warning, but the results
225 are unpredictable. Chords that cannot be achieved with a single
226 quality modifier should be altered by individual pitches, as described
227 in @ref{Extended and altered chords}.
230 @node Extended and altered chords
231 @unnumberedsubsubsec Extended and altered chords
233 @cindex extended chords
234 @cindex altered chords
236 Chord structures of arbitrary complexity can be created in chord
237 mode. The modifier string can be used to extend a chord, add or
238 remove chord steps, raise or lower chord steps, and add a bass note
239 or create an inversion.
241 The first number following the @code{:} is taken to be the extent
242 of the chord. The chord is constructed by sequentially adding
243 thirds to the root until the specified number has been reached.
244 Note that the seventh step added as part of an extended chord will be the
245 minor or flatted seventh, not the major seventh.
246 If the extent is not a third (e.g., 6), thirds are added up to the
247 highest third below the extent, and then the step of the extent is
248 added. The largest possible value for the extent is 13. Any
249 larger value is interpreted as 13.
251 @lilypond[quote,ragged-right,verbatim]
261 As a special exception, @code{c:5} produces a @q{power chord} only
262 consisting of root and fifth.
264 Since an unaltered 11 does not sound good when combined with an
265 unaltered 13, the 11 is removed from a @code{:13} chord (unless it
266 is added explicitly).
268 @lilypond[quote,ragged-right,verbatim]
274 @cindex additions, in chords
276 Individual steps can be added to a chord. Additions follow the
277 extent and are prefixed by a dot (@code{.}). The basic seventh
278 step added to a chord is the minor or flatted seventh, rather than
281 @lilypond[quote,verbatim]
283 c1:3.5.6 c:3.7.8 c:3.6.13
287 Added steps can be as high as desired.
289 @lilypond[quote,verbatim]
291 c4:3.5.15 c:3.5.20 c:3.5.25 c:3.5.30
295 @cindex chord steps, altering
297 Added chord steps can be altered by suffixing a @code{-} or @code{+}
298 sign to the number. To alter a step that is automatically included
299 as part of the basic chord structure, add it as an altered step.
301 @lilypond[quote,verbatim]
303 c1:7+ c:5+.3- c:3-.5-.7-
307 @cindex removals, in chords
311 Following any steps to be added, a series of steps to be removed
312 is introduced in a modifier string with a prefix of @code{^}.
313 If more than one step is to be removed, the steps to be
314 removed are separated by @code{.} following the
317 @lilypond[quote,verbatim]
319 c1^3 c:7^5 c:9^3 c:9^3.5 c:13.11^3.7
325 The modifier @code{sus} can be added to the modifier string to
326 create suspended chords. This removes the 3rd step from the chord.
327 Append either @code{2} or @code{4} to add the 2nd or 4th step to the
328 chord. @code{sus} is equivalent to @code{^3}; @code{sus4} is
329 equivalent to @code{.4^3}.
331 @lilypond[quote,ragged-right,verbatim]
333 c1:5 c:sus2 c:sus4 c:5.4
338 @cindex chord inversions
339 @cindex bass note, for chords
341 Inversions (putting a pitch other than the root on the bottom of the
342 chord) and added bass notes can be specified by appending
343 @code{/}@var{pitch} to the chord.
345 @lilypond[quote,ragged-right,verbatim]
353 A bass note that is part of the chord can be added, instead of
354 moved as part of an inversion, by using @code{/+}@var{pitch}.
356 @lilypond[quote,ragged-right,verbatim]
362 Chord modifiers that can be used to produce a variety of
363 standard chords are shown in
364 @ref{Common chord modifiers}.
368 @ref{Common chord modifiers}.
374 Each step can only be present in a chord once. The following
375 simply produces the augmented chord, since @code{5+} is
378 @lilypond[quote,ragged-right,verbatim]
379 \chordmode { c1:3.5.5-.5+ }
383 @node Displaying chords
384 @subsection Displaying chords
386 Chords can be displayed by name, in addition to the standard display
390 * Printing chord names::
391 * Customizing chord names::
394 @node Printing chord names
395 @unnumberedsubsubsec Printing chord names
397 @cindex printing chord names
401 Chord names are printed in the @code{ChordNames} context:
403 @lilypond[verbatim,quote,ragged-right]
411 Chords can be entered as simultaneous notes or through the use of
412 chord mode. The displayed chord name will be the same, regardless
413 of the mode of entry, unless there are inversions or added bass notes:
415 @lilypond[verbatim,quote]
416 chordmusic = \relative {
433 @cindex no chord symbol
435 @cindex indicating No Chord in ChordNames
437 Rests passed to a @code{ChordNames} context will cause the
438 @code{noChordSymbol} markup to be displayed.
440 @lilypond[verbatim,quote]
442 \new ChordNames \chordmode {
459 @code{\chords @{ @dots{} @}} is a shortcut notation for
460 @code{\new ChordNames @{ \chordmode @{ @dots{} @} @}}.
462 @lilypond[verbatim,quote,ragged-right]
468 @lilypond[verbatim,quote,ragged-right]
478 @c Keep index entries with following snippet
479 @cindex chords, suppressing repeated
480 @funindex chordChanges
482 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
483 {showing-chords-at-changes.ly}
485 @c @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
486 @c {adding-bar-lines-to-chordnames-context.ly}
488 @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
489 {simple-lead-sheet.ly}
496 @ref{Writing music in parallel}.
502 @rinternals{ChordNames},
503 @rinternals{ChordName},
504 @rinternals{Chord_name_engraver},
505 @rinternals{Volta_engraver},
506 @rinternals{Bar_engraver}.
509 Chords containing inversions or altered bass notes are not named
510 properly if entered using simultaneous music.
513 @node Customizing chord names
514 @unnumberedsubsubsec Customizing chord names
516 @cindex customizing chord names
518 There is no unique system for naming chords. Different musical
519 traditions use different names for the same set of chords. There
520 are also different symbols displayed for a given chord name. The
521 names and symbols displayed for chord names are customizable.
526 The basic chord name layout is a system for Jazz music, proposed
527 by Klaus Ignatzek (see @ressay{Literature list}). The chord naming
528 system can be modified as described below. An alternate jazz
529 chord system has been developed using these modifications.
530 The Ignatzek and alternate
531 Jazz notation are shown on the chart in @ref{Chord name chart}.
533 @c TODO -- Change this so we don't have a non-verbatim example.
534 @c Make short example in docs, then move longer example to
535 @c appendix, where the length of the snippet won't matter.
537 In addition to the different naming systems, different note names
538 are used for the root in different languages. The predefined
539 commands @code{\germanChords}, @code{\semiGermanChords},
540 @code{\italianChords} and @code{\frenchChords} set these variables.
541 The effect is demonstrated here:
543 @lilypondfile[ragged-right]{chord-names-languages.ly}
546 @funindex chordNameLowercaseMinor
548 German songbooks may indicate minor chords as lowercase letters,
549 without any @var{m} suffix. This can be obtained by setting the
550 @code{chordNameLowercaseMinor} property:
552 @lilypond[verbatim,quote,ragged-right]
554 \set chordNameLowercaseMinor = ##t
559 If none of the existing settings give the desired output, the chord
560 name display can be tuned through the following properties.
564 @funindex chordRootNamer
568 The chord name is usually printed as a letter for the root with an
569 optional alteration. The transformation from pitch to letter is
570 done by this function. Special note names (for example, the German
571 @q{H} for a B-chord) can be produced by storing a new function in
574 @funindex majorSevenSymbol
576 @item majorSevenSymbol
578 This property contains the markup object used to follow the output
579 of @code{chordRootNamer} to identify a major 7 chord. Predefined
580 options are @code{whiteTriangleMarkup} and
581 @code{blackTriangleMarkup}.
583 @funindex additionalPitchPrefix
585 @item additionalPitchPrefix
587 When the chord name contains additional pitches, they can optionally
588 be prefixed with some text. The default is no prefix, in order to
589 avoid too much visual clutter, but for small numbers of additional
590 pitches this can be visually effective.
592 @lilypond[verbatim,quote,ragged-right]
595 \set additionalPitchPrefix = #"add"
600 @funindex chordNoteNamer
604 When the chord name contains additional pitches other than the root
605 (e.g., an added bass note), this function is used to print the
606 additional pitch. By default the pitch is printed using
607 @code{chordRootNamer}. The @code{chordNoteNamer} property can be set
608 to a specialized function to change this behavior. For example, the
609 bass note can be printed in lower case.
611 @funindex chordNameSeparator
613 @item chordNameSeparator
615 Different parts of a chord name are normally separated by a small
616 amount of horizontal space. By setting @code{chordNameSeparator}, you
617 can use any desired markup for a separator. This does not affect the
618 separator between a chord and its bass note; to customize that, use
619 @code{slashChordSeparator}.
621 @lilypond[verbatim,quote,ragged-right]
624 \set chordNameSeparator = \markup { "/" }
630 @funindex slashChordSeparator
632 @item slashChordSeparator
634 Chords can be played over a bass note other than the conventional root
635 of the chord. These are known as ``inversions'' or ``slash chords'',
636 because the default way of notating them is with a forward slash
637 between the main chord and the bass note. Therefore the value of
638 @code{slashChordSeparator} defaults to a forward slash, but you can
639 change it to any markup you choose.
641 @lilypond[verbatim,quote,ragged-right]
644 \set slashChordSeparator = \markup { " over " }
650 @funindex chordNameExceptions
652 @item chordNameExceptions
654 This property is a list of pairs. The first item in each pair
655 is a set of pitches used to identify the steps present in the chord.
656 The second item is a markup that will follow the @code{chordRootNamer}
657 output to create the chord name.
659 @funindex minorChordModifier
661 @item minorChordModifier
663 Minor chords are often denoted via a @q{m} suffix to the right of the
664 root of the chord. However some idioms prefer other suffices, such as
667 @lilypond[verbatim,quote,ragged-right]
670 \set minorChordModifier = \markup { "-" }
676 @funindex chordPrefixSpacer
678 @item chordPrefixSpacer
680 The modifier for minor chords as determined by
681 @code{minorChordModifier} is usually printed immediately to the right
682 of the root of the chord. A spacer can be placed between the root and
683 the modifier by setting @code{chordPrefixSpacer}. The spacer is not
684 used when the root is altered.
690 @funindex major seven symbols
691 @code{\whiteTriangleMarkup},
692 @code{\blackTriangleMarkup},
693 @funindex \germanChords
694 @code{\germanChords},
695 @funindex \semiGermanChords
696 @code{\semiGermanChords},
697 @funindex \italianChords
698 @code{\italianChords},
699 @funindex \frenchChords
700 @code{\frenchChords}.
706 @cindex exceptions, chord names.
707 @lilypondfile[verbatim,quote,texidoc,doctitle]
708 {chord-name-exceptions.ly}
710 @c TODO - tweak snippet to use \blackTriangleMarkup as well
711 @lilypondfile[verbatim,quote,texidoc,doctitle]
712 {chord-name-major7.ly}
714 @lilypondfile[verbatim,quote,texidoc,doctitle]
715 {adding-bar-lines-to-chordnames-context.ly}
717 @lilypondfile[verbatim,quote,texidoc,doctitle]
718 {volta-below-chords.ly}
720 @lilypondfile[verbatim,quote,texidoc,doctitle]
721 {changing-chord-separator.ly}
725 @ref{Chord name chart},
726 @ref{Common chord modifiers}.
728 Essay on automated music engraving:
729 @ressay{Literature list}.
732 @file{scm/chords-ignatzek.scm},
733 @file{scm/chord-entry.scm},
734 @file{ly/chord-modifier-init.ly}.
740 Chord names are determined from both the pitches that are present
741 in the chord and the information on the chord structure that may
742 have been entered in @code{\chordmode}. If the simultaneous pitches
743 method of entering chords is used, undesired names result from
744 inversions or bass notes.
746 @lilypond[quote,ragged-right,verbatim]
747 myChords = \relative c' {
748 \chordmode { c1 c/g c/f }
749 <c e g>1 <g c e> <f c' e g>
752 \new ChordNames { \myChords }
753 \new Staff { \myChords }
759 @subsection Figured bass
761 @c Line width hack because of instrument names
762 @lilypondfile[quote,staffsize=18,line-width=14.5\cm]{figured-bass-headword.ly}
764 Figured bass notation can be displayed.
767 * Introduction to figured bass::
768 * Entering figured bass::
769 * Displaying figured bass::
772 @node Introduction to figured bass
773 @unnumberedsubsubsec Introduction to figured bass
775 @cindex Basso continuo
776 @cindex Thorough bass
778 @cindex Bass, thorough
779 @cindex Bass, figured
781 @c TODO: musicological blurb about FB
784 LilyPond has support for figured bass, also called thorough bass
787 @lilypond[quote,ragged-right,verbatim]
789 \new Voice { \clef bass dis4 c d ais g fis}
792 < 6 >4 < 7\+ >8 < 6+ [_!] >
800 The support for figured bass consists of two parts: there is an
801 input mode, introduced by @code{\figuremode}, that accepts
802 entry of bass figures, and there is a context named
803 @code{FiguredBass} that takes care of displaying
804 @code{BassFigure} objects. Figured bass can also be displayed
805 in @code{Staff} contexts.
807 @code{\figures@{ @dots{} @}} is a shortcut notation for
808 @code{\new FiguredBass @{ \figuremode @{ @dots{} @} @}}.
811 Although the support for figured bass may superficially resemble chord
812 support, it is much simpler. @code{\figuremode} mode simply
813 stores the figures and the @code{FiguredBass} context prints them
814 as entered. There is no conversion to pitches.
817 Figures are created as markup texts. Any of the standard markup
818 properties can be used to modify the display of figures. For
819 example, the vertical spacing of the figures may be set with
820 @code{baseline-skip}.
825 @rglos{figured bass}.
831 @node Entering figured bass
832 @unnumberedsubsubsec Entering figured bass
834 @code{\figuremode} is used to switch the input mode to figure mode.
835 More information on different input modes can be
836 found at @ref{Input modes}.
838 In figure mode, a group of bass figures is delimited by
839 @code{<} and @code{>}. The duration is entered after the @code{>}.
841 @lilypond[verbatim,quote,ragged-right]
850 Accidentals (including naturals) can be added to figures:
852 @lilypond[verbatim,quote,ragged-right]
854 <7! 6+ 4-> <5++> <3-->
858 Augmented and diminished steps can be indicated:
860 @lilypond[verbatim,quote,ragged-right]
866 A backward slash through a figure (typically used for raised
867 sixth steps) can be created:
869 @lilypond[verbatim,quote,ragged-right]
875 Vertical spaces and brackets can be included in figures:
877 @lilypond[verbatim,quote,ragged-right]
883 Any text markup can be inserted as a figure:
885 @lilypond[verbatim,quote,ragged-right]
887 <\markup { \tiny \number 6 \super (1) } 5>
891 @c NOTE: We need to include notes any time we use extenders to
892 @c avoid extraneous staff creation due to Staff.use... in
893 @c \bassFigureExtendersOn
895 Continuation lines can be used to indicate repeated figures:
897 @lilypond[verbatim,quote,ragged-right]
905 \bassFigureExtendersOn
906 <6 4>4 <6 3> <7 3> <7 3>
907 \bassFigureExtendersOff
908 <6 4>4 <6 3> <7 3> <7 3>
914 In this case, the extender lines replace existing figures,
915 unless the continuation lines have been explicitly terminated.
917 @lilypond[verbatim,quote,ragged-right]
920 \bassFigureExtendersOn
921 <6 4>4 <6 4> <6\! 4\!> <6 4>
930 The table below summarizes the figure modifiers available.
932 @multitable @columnfractions .1 .5 .4
946 @lilypond[line-width=4\cm]
948 <7! 6+ 4-> <5++> <3-->
955 Augmented and diminished steps
957 @lilypond[line-width=4\cm]
968 @lilypond[line-width=4\cm]
977 End of continuation line
979 @lilypond[line-width=4\cm]
982 \bassFigureExtendersOn
983 <6 4> <6 4> <6\! 4\!> <6 4>
996 @cindex figured bass extender lines
997 @code{\bassFigureExtendersOn},
998 @code{\bassFigureExtendersOff}.
1003 @lilypondfile[verbatim,quote,texidoc,doctitle]
1004 {changing-the-positions-of-figured-bass-alterations.ly}
1010 Internals Reference:
1011 @rinternals{BassFigure},
1012 @rinternals{BassFigureAlignment},
1013 @rinternals{BassFigureLine},
1014 @rinternals{BassFigureBracket},
1015 @rinternals{BassFigureContinuation},
1016 @rinternals{FiguredBass}.
1019 @node Displaying figured bass
1020 @unnumberedsubsubsec Displaying figured bass
1022 Figured bass can be displayed using the @code{FiguredBass} context,
1023 or in most staff contexts.
1025 When displayed in a @code{FiguredBass} context, the vertical location
1026 of the figures is independent of the notes on the staff.
1028 @lilypond[verbatim,ragged-right,quote]
1043 In the example above, the @code{FiguredBass} context must be
1044 explicitly instantiated to avoid creating a second (empty) staff.
1047 Figured bass can also be added to @code{Staff} contexts
1048 directly. In this case, the vertical position of the
1049 figures is adjusted automatically.
1051 @lilypond[verbatim,ragged-right,quote]
1053 \new Staff = "myStaff"
1058 %% Put notes on same Staff as figures
1059 \context Staff = "myStaff"
1068 When added in a @code{Staff} context, figured bass can be displayed above
1071 @lilypond[verbatim,ragged-right,quote]
1073 \new Staff = "myStaff"
1076 \bassFigureStaffAlignmentDown
1079 %% Put notes on same Staff as figures
1080 \context Staff = "myStaff"
1089 @cindex figured bass alignment
1090 @code{\bassFigureStaffAlignmentDown},
1091 @code{\bassFigureStaffAlignmentUp},
1092 @code{\bassFigureStaffAlignmentNeutral}.
1099 Internals Reference:
1100 @rinternals{BassFigure},
1101 @rinternals{BassFigureAlignment},
1102 @rinternals{BassFigureLine},
1103 @rinternals{BassFigureBracket},
1104 @rinternals{BassFigureContinuation},
1105 @rinternals{FiguredBass}.
1108 To ensure that continuation lines work properly, it is
1109 safest to use the same rhythm in the figure line as in
1112 @lilypond[verbatim,ragged-right,quote]
1116 \repeat unfold 4 { f16. g32 } f8. es16 d8 es
1119 \bassFigureExtendersOn
1120 % The extenders are correct here, with the same rhythm as the bass
1121 \repeat unfold 4 { <6 4->16. <6 4->32 }
1122 <5>8. r16 <6>8 <6\! 5->
1128 \repeat unfold 4 { f16. g32 } f8. es16 d8 es
1131 \bassFigureExtendersOn
1132 % The extenders are incorrect here, even though the timing is the same
1134 <5>8. r16 <6>8 <6\! 5->